Why Lisette Donkersloot Dreams in Film

There are times where film can capture something that feels more real than reality itself. In the same way nostalgia can merge memories actual and imagined, the moving image can evoke dream-like moments of truth - even when it’s in a world of fiction. 

So much of Lisette Donkersloot’s work exists in those spaces, and it helps the director to create films that connect with audiences on a level that’s far beyond superficial. 

Given her background in art-direction, maybe that shouldn’t come as a surprise. But it’s what makes even her most visceral and physical projects - working with athletes like Simone Biles on promos for brands like K18 and Gillette Venus - captivatingly and disarmingly surreal. It’s reality; but not quite as we know it.

To learn more about Lisette’s approach to her craft, LBB’s Adam Bennett spoke with the Imposter director… 

LBB> Lisette, you’ve got a background in art direction - do you think that impacts your approach to your work as a director? And, if so, how?

Lisette> Oh, for sure. My educational background lies in fashion styling and interior design, which really shaped my taste and aesthetic, especially through fashion photography and editorials. 

In my early directing projects and personal work - back in the zero-budget days - I wore many hats, including art director and stylist. These departments are still where I’m most hands-on and specific about my vision. The way a space is designed and how this communicates with the colours of wardrobe and lighting is, and always will be, a crucial part of my creative process.

LBB> A lot of your work (be it for brands, music videos, or narrative long form) has a surreal, often dreamlike quality to its imagery. Is that an aesthetic which you purposefully set out to create, or does it come about naturally?

Lisette> I’d say both naturally and purposefully. My brain naturally gravitates towards surreal visuals, so my ideas often come from a dreamlike place rather than a realistic, documentary vibe. I do make a conscious effort to stick to those ideas, purposefully embracing that creative outlet in my brain to infuse my work - even when commissioned for artists or brands - with my personal touch and style. As a director, you (ideally) get hired for your unique style and vision, so I strive to consistently develop and stick to my own aesthetic and visual language.

LBB> You’ve previously spoken about how different people on a film set are speaking different ‘languages’, and you need to learn them all to communicate effectively. Is there a new language on every set you encounter? How do you manage that?

Lisette> By listening, observing, interacting (and making mistakes while doing so) and analysing afterwards. I am a perpetual scholar on this, really. On each and every set, there’s always one or more new personas with a specific tongue to interpret. I am always learning new ways one needs to be spoken to in order to achieve my vision. I don’t think I’ll ever stop learning these individual languages, but I love the challenge of figuring them all out.

LBB> Your Olympics work with Gillette Venus feels really kinetic and tactile. What was your vision heading into these ads, and how challenging was it to bring it to life?

Lisette> Thank you so much! My goal was to create a sensorial film that draws a parallel between the athletes' peak underwater performances with their out-of-water rituals to get into a champion's mindset, like the full-body shaving Olympic swimmers do. The way we shot it, along with the music and sound done by Squeak E. Clean, really elevated it to that kinetic world you mentioned. 

The biggest challenge was the amount of shots we had to cover vs. the limited time we had with our talent - who were both amazing by the way. There were a lot of technical shots to cover in 1 day: Special rigs on the razor, macro shots of skin and hair, switching between two different underwater housings and crane heads, and so on. We had only about five minutes per shot, so it was a nonstop sprint. But I had a clear vision, and everyone was on their A-game. 

LBB> Meanwhile, you recently shot an ad for K18 with another Olympic athlete, Simone Biles. Are there any things you need to keep in mind as a director when working with athletes? 

Lisette> Working with athletes is fantastic - I can now confidently say that, after directing campaigns for Gillette Venus and K18, both featuring Olympic athletes. You capture them doing what they’re most passionate about and excel at, and that passion shines on camera. Plus, their natural professionalism and discipline make communication and direction a breeze.

When working with Simone Biles, who was still training for the Olympics, we had to eliminate the risk of injury. During prep, we requested videos of all the exercises she could do and how many times she could repeat them. Together with my DoP Jackie Bao, we came up with a shooting plan using two cameras, since some flips could only be performed once. On the shoot day, we reviewed the footage with Simone and her trainer to get their expertise. For example, they might point out that a toe needed to be more straightened in the next take - technical details I wouldn’t have been able to detect myself - so it was super helpful to get their input.

LBB> Is there a particular type of project that you’d especially like to sink your teeth into in the near future?

Lisette> I am super keen to get a sexy fashion film project off the ground in the next coming months.

LBB> What kind of directors are inspiring you at the moment? Have you seen any work recently and thought “damn, I wish I’d made that”? 

Lisette> Here’s where I admit I'm not as immersed in the latest music videos and commercial drops as I used to be. I tend to delete Instagram from my phone now and then, so I’m not always up on the latest. But that LOST promo for RM made by Aube Perrie I thought was impeccable. It also looked like such a fun thing to make. Talk about the art direction for that one - my god, it’s so good. 

And even though it's been out for a few months, the VogueWorld Paris campaign by Bardia Zeinali is everything to me. My exact thoughts while watching it were, "Damn, I wish I'd made that."

LBB> Finally, imagine you had access to a time machine with the ability to travel back and give your past self a piece of advice. What advice would you give, and why? 

Lisette> Stop overthinking, trust your gut, and get your ass out there! I used to spend too much time doubting myself by overthinking, resulting in self-sabotage but that’s not good for anyone.